Pierre Joris

Ecopoetics as transitional architectural system

Ecopoetics as remaking the household (oikos) may entail moving out of the house altogether, a shift from home-making to camping. For instance, in a remarkable (and painfully ironic) appropriation of refugee architecture, an urban tent city lines the median of Rothschild Boulevard in Tel Aviv—middle class Israelis protesting the high cost and scarcity of housing. (There are plans afoot for a similar occupation of Wall Street.)

One of the best “art shows” I saw in recent years was the exhibit Into the Open, the official United States representation at the 2008 Venice Biennale. (I caught it at the New School, in NYC; the Slought Foundation also ran it in Philadelphia.)

This show indicted modernist architecture as “an aesthetic style—an abstract form in a landscape, photographed aerially and devoid of social relations[, whose i]conic buildings, formalism, and myopic obsession with the upper class . . . became the hallmarks of much American architecture.” Into the Open’s installations ask architecture “to mitigate its current celebrity obsessed approach, encouraging instead a new type of collaborative thinking about design and space that highlights local, periphery, and even edge conditions.”

The Meridian speech is one of Paul Celan's key works. This meticulous, fascinating, and, finally, compelling edition begins by unlocking what seems to be the work's multifoliate nature. Ultimately, though, and with the help of Pierre Joris's eloquent translation, we discover that that under the many surfaces of this magisterial essay is an abyss of poetic thinking struggling to emerge into the light of our encounter.

On Barrett Watten's questions

It is no accident that the title of Barrett Watten’s second twenty-first-century critical book analyzing Language writing as an ongoing “presence” within the avant-garde continuum and literary history echoes Roman Jakobson’s 1977 collection of essays, Questions de poetique[1] Just as Jakobson’s essays interrogate the precarious position of poetry in an age saturated with analog media (e.g., how poetry is and is not different from the newspaper, the radio, television, etc.), so too Watten’s essays address the position of poetry in relationship to other modes of inn